Welcome to our “Psychedelic Lunch” series, “Guardians Of The Galaxy” Edition, where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Weekdays At Noon EST. Enjoy the trip!

The Raspberries, Go All The Way Off The Album Album: The Raspberries (1972)

Raspberries lead singer and bass player Eric Carmen wrote this song. He went on to fame as a solo artist (“Hungry Eyes”) and songwriter (“All By Myself”).

This song is about a girl trying to convince a guy to “Go all the way,” meaning to have sex with him. Carmen told Blender magazine in 2006 that he was inspired by The Rolling Stones performance of “Let’s Spend The Night Together” when Mick Jagger had to sing it as “Let’s spend some time together.”

Said Carmen, “I knew then that I wanted to write a song with an explicitly sexual lyric that the kids would instantly get but the powers that be couldn’t pin me down for.”

The Raspberries dressed in matching suits. “Go All The Way” was part of their first album, and it was their only hit. They made two more albums before breaking up.

The album contained a raspberry-scented scratch-and-sniff sticker.

When the group was trying to think of a name, one of the four members rejected a suggestion with the phrase, “Aw, Raspberries” (an old Our Gang line). They had their name. , IL) Eric Carmen explained: “I remember ‘Go All The Way’ vividly. The year was 1971. I was 21. I had been studying for years. I had spent my youth with my head between two stereo speakers listening to The Byrds and The Beatles and later on The Beach Boys – just trying to figure out what combinations of things – whether it was the fourths harmonies that The Byrds were singing on ‘Mr. Tambourine Man’ – I must have worn out 10 copies of that first Byrds album listening to it over and over, and turning off the left side and turning on the right side trying to figure out why these certain combinations of instruments and echo and harmonies made that hair on your arms stand up. I did the same thing with Beatles records, and I tried to learn construction.

Then I went to school on Brian Wilson. That was a real breakthrough for me because he was doing things that I thought were so incredibly sophisticated before anybody was doing anything even close. The Pet Sounds album is, to me, the best pop album of all time. Brian introduced me to the idea of writing a bridge for a song that really had nothing to do with the verse and chorus.

In the early days, I spent a lot of time concentrating on writing bridges that took you some place that you didn’t expect to go. Many songwriters wrote a song, the song’s in the key of C, it comes time for a bridge and they go to A minor. That bored me. Brian would go to E flat or somewhere strange, and he managed to do it smoothly. He also had a way of delivering you out of the bridge in such a way that you felt like maybe the song had modulated up a step, but you were really back in the original key. That, to me, was artwork. So when I sat down to write ‘Go All The Way,’ there were a couple things I had in mind. I thought, ‘What part of the song is it that people really want to hear? It’s the chorus.’ As a result of all that, ‘Go All The Way’ has a 10-second verse, and then the chorus is a minute long. I figured just to get to the chorus as fast as I can. That was the plan behind the song. I repeated that when I wrote ‘I Wanna Be With You.'”

This was an early example of “Power Pop,” which were rock songs with radio-friendly hooks.

The title was inspired by a book Carmen came across by Dan Wakefield called Going All The Way.

The Killers covered this song for the 2012 film Dark Shadows.

This song appears in the 2000 film Almost Famous, but was not included on the soundtrack. It did make the soundtrack to the 2014 film Guardians Of The Galaxy, which went to #1 in America and revived many ’70s hits.

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series, “Guardians Of The Galaxy” Edition, where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Weekdays At Noon EST. Enjoy the trip!

Im Not In Love By 10 cc Off The Album, “The Original Soundtrack” 1975

This song incorporated the backing of a large wordless choir, which in reality was the group’s voices. It was painstakingly built up from chord loops and multi tracks: some 256 vocal dubs were required to complete the lush harmonies behind Eric Stewart’s vocal.

The idea for the song came from Eric Stewart saying to his wife that if he kept saying “I Love You” over and over, it wouldn’t mean anything even though he did love her. He recalled to The Guardian:

“I met this gorgeous girl called Gloria at Halifax town hall. I was 18. She was 16. Three years later, we got married. A few years after that, Gloria told me: ‘You don’t say ‘I love you’ much anymore.’ I told her that, if I said it all the time, it would sound glib. But I started wondering how I could say it without using those actual words. So ‘I’m not in love’ became a rhetorical conversation with myself – and then a song.

I wrote the lyrics in a couple of days. The line, ‘I keep your picture up on the wall, it hides a nasty stain’ was about the crack in my bedroom wall at my parents’ house in Manchester. I’d put a photograph of Gloria over it. When I took the song to the band, they said: ‘I’m not in love’? What the f–k is that? You can’t say that!’ But Graham Gouldman, our bass-player and chord-master, agreed to work on it with me. We both liked The Girl From Ipanema, so we gave it a similar bossa nova style. Then Kevin Godley, our drummer, said it was crap.

We were about to scrap it and wipe the tape but, as I walked around the studio, I heard the secretary singing it and the window-cleaner whistling it. I knew we had a tune: we just hadn’t captured it properly. Kevin suggested doing it again, but with banks of voices. I thought that meant hiring a choir, but Lol Creme, our keyboard player, said we could do it using tape loops.”

The guy in this song sounds like he’s trying to convince himself he’s not in love anymore, but he’s not fooling us. That conflict stems from the title and helped make the song so poignant.

In an interview with Graham Gouldman, he explained: “I had the opening chords to it and it grew from there. Eric and I had always avoided a love song, but I was always convinced we could do a great one, and once again Eric came up with the title of that song, and it was the perfect title of an anti-love song. But of course, is it an anti-love song? Is it I’m not in love, or is it I am in love?”

The whispered vocals of “Be quiet, big boys don’t cry” came from the secretary of Strawberry Studios (the studio the band operated), Kathy Redfern. They were looking for a certain sound when Redfern entered the studio to quietly tell Eric Stewart he had a phone call. When they heard her voice, they knew it was right for the song.According to Kevin Godley, they originally recorded this song as a “lounge-lizard, bossa-nova thing,” which clearly didn’t work. When they revisited it, they came up with a new approach. “It was possibly out of desperation of not knowing what to do that we tried all the washy voices,” Godley said in an interview. “Forget instruments, forget guitars, forget drums. Just voices, like a heavenly choir, like a tsunami of voices.”

Godley says they spent days singing notes into a microphone, which they then turned into tape loops. These loops were loaded onto 16 different tape machines and rolled simultaneously. In the control room, each band member had four faders to bring each loop in and out of the mix on the fly, which they overdubbed onto the basic track they had built with electric piano, guitar and a Moog synthesizer set to simulate a bass drum. Said Godley: “We used Eric’s original guide vocal in the end because it just worked, and from that point onwards, everything we added or took away or changed from that point worked. There were no head-scratching moments, no arguing, no disagreements, no problems. It was like we were in a magic bubble and everything fell into place. Then we mixed it, and it was six-and-a-half minutes long – something crazy – and we realized we had done something special. We didn’t know it was a hit record or anything, but we knew it was special.”

In 1990, the duo Will To Power released a cover version that went to #7 US. Two years earlier, Will To Power had a #1 US hit with a medley of two cover songs: Peter Frampton’s “Baby, I Love Your Way” and Lynyrd Skynyrd’s “Free Bird.”

Other popular covers include a 1976 version by Richie Havens that made #102 in the US, and a 1993 version by The Pretenders recorded for the movie Indecent Proposal – this one was produced by Trevor Horn. This song opens the 2014 movie Guardians of the Galaxy, where Chris Pratt’s character is listening to it on a Walkman. The song is part of a mixtape his dying mother gave him called Awesome Mix Vol. 1, which plays a huge part in the film and also forms the soundtrack, reviving many hits from the ’70s. “I’m Not In Love” and other selections (“Escape (The Piña Colada Song)” and “Hooked On A Feeling” among them) are incongruent choices for a superhero action movie, but they proved very effective, as the soundtrack went to #1 in America.

Director Bruce Gowers made a video for this song showing the band performing it in the studio. A few years later, Godley & Creme made many elaborate concept videos for the likes of The Police, Frankie Goes to Hollywood and George Harrison. In 2019, Godley shot a new video for “I’m Not In Love” that was used as a concert visual in Graham Gouldman’s touring version of 10cc.

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series, “Guardians Of The Galaxy” Edition, where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Weekdays At Noon EST. Enjoy the trip!

Cherry Bomb By The Runaways Off Their Self Titled Debut Album

Lita Ford, Cherrie Currie, Sandy West, Joan Jett and Jackie Fox of The Runaways in London, Circa 1976 (Photo by Chris Walter/WireImage)

“Cherry Bomb” was written by Runaways manager Kim Fowley and guitarist Joan Jett for the group’s self-titled debut album. The title is a play on the name of their lead singer Cherie Currie, who was just 16 when this song was released. A “Cherry Bomb” is a small explosive device popular with kids, but in the context of this song, it means an underage girl who is lots of trouble – in this case taunting her parents and other adults with suggestions of promiscuity and bad behavior.

This was all by design, as Fowley was out to shock with The Runaways and generate a great deal of hype. The band earned a lot of press and a fair amount of rock credibility, since they played their own instruments and for the most part were genuinely talented. In many ways, however, Currie was the weak link – it was hard to take a band seriously when their lead singer wore lingerie on stage and presented herself as jailbait. Currie left the group in 1977 after their third album, and when asked why The Runaways were having a hard time being taken seriously, Joan Jett said, “It was that whole ‘Cherry Bomb With The Corset’ thing with Cherie.”

Joan Jett became the biggest star to come out of The Runaways, and her story was the focus of their 2010 movie, where she was portrayed by the fetching Kristen Stewart. When the group dissolved in 1979, she didn’t have a lot of offers, but the producer Kenny Laguna partnered with her, forming Blackheart Records and creating many classic songs, including the famous cover of the Arrows song “I Love Rock And Roll.” In an interview, Laguna said the record companies could care less about Joan Jett, they were busy signing every other Runaway. They thought Joan was the loser and they signed the other girls, who we’re all friends, but I looked at the band and thought she was the Mick Jagger and Keith Richards of the band.”

To give you a hint as to how central this song is to The Runaways’ legacy, the features a juicy dripping cherry whose stem is lit and sparking like a bomb. Beavis and Butthead took one look at it and spontaneously combusted.

That’s Cherie Currie growling the vocals here, which were performed by Jett when she left the band. You know what else is on her resumé? Chainsaw artist. That is, she carves wood sculptures using a chainsaw. No, really, she’s good. Check her personal site here. How’s that for machismo? If you don’t see how carving art with a chainsaw is a metaphor for punk rock, we obviously haven’t been explaining this stuff clearly enough to you.

By the way, modern audiences might easily get Joan Jett and Lita Ford confused – their styles are very similar. They were both in The Runaways at the same time and basically wrote the book on all-girl punk rock bands in the ’70s – but really, they’re a continuation of the lineage first started by Suzi Quatro, whom Jett cites as an influence. You can hear the go-to-hell delinquent rebel in the style of all three. Joan Jett’s version was featured on the 1992 “Free Fall” episode of the TV series Highlander, which starred Jett as an immortal. The song can also be heard on a 2012 episode of True Blood and in the 1993 movie Dazed and Confused.

The song was featured in Marvel Studios’ 2014 film Guardians of the Galaxy. Director James Gunn explained how some of the music was used during the filming: “Where possible, the songs were played live on set,” he said. “When you see the gang walking down the hall to ‘Cherry Bomb,’ they were actually walking down the hall to ‘Cherry Bomb.'”

Accompanied by Dave Grohl, Joan Jett performed this song at the Rock and Roll Hall of Fame when she was inducted in 2015.

Speaking at Kim Fowley’s memorial service, Joan Jett said that they wrote the song for Cherie Currie’s audition – the collaboration marked the first time Jett had written a song with someone else.

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series, “Guardians Of The Galaxy” Edition, where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Weekdays At Noon EST. Enjoy the trip!

Album: On My Way (1968)

B J Thomas; Hooked In A Feeling This song was written by Mark James, who also wrote Elvis Presley’s “Suspicious Minds.” B.J. Thomas was signed to Scepter Records and had some hits with his group The Triumphs before Scepter producer Chips Moman convinced him to leave Texas and come to American Studios in Memphis, where he recorded some of the songs James wrote for his album On My Way. The first single from the album was the James-penned “The Eyes of a New York Woman,” which reached #28 in the US. The next single was “Hooked On A Feeling,” which was a big hit for Thomas but not nearly as successful as his next one, “Raindrops Keep Falling On My Head,” which stayed at US #1 for four weeks. “Hooked” was produced by Moman with session musicians that included Tommy Cogbill (guitar) Reggie Young (guitar), Mike Leech (bass) and Buddy Emmons (drums).

Drug references were big in 1968, and this song has plenty of them, but the context is love as a drug; Thomas is “high on believin'” and will “just stay addicted” to the girl who can “turn me on.” All very innocent.

About those Oooonga Chackas:
There’s a good chance you’ve heard this song with the famous jungle chant, and it was most likely the 1974 Blue Swede version, which was featured in the Quentin Tarantino movie Reservoir Dogs. The first use of the chant in this song, however, was in the 1971 version by the English singer and Pop mogul Jonathan King, who added the Oooonga Chackas which were based on the chant in Johnny Preston’s 1959 hit “Running Bear.” King’s version was a UK hit – the only version of the song to chart there – reaching #23. Blue Swede recorded their own version with more aggressive jungle sounds in 1974, and it was a massive hit, reaching #1 in the US, Holland, Australia, and Canada. Blue Swede was a Swedish band, and they would perform the Jonathan King version in concert, getting the crowd to chant along. It went to #1 in Sweden, and according to a Rolling Stone article from 1974, a few copies made their way to the United States, where a woman in Connecticut played the song in her record store. This led to some local airplay and the song quickly spread, eventually becoming a #1 hit.

And what about Jonathan King, who put the chant on the song in 1971? King was a university student in the UK when he recorded his debut hit “Everyone’s Gone To The Moon” in 1965, which reached #4 in the UK and #17 in the US. He went on to become a successful singer, songwriter, producer (he produced the first Genesis album, From Genesis to Revelation), broadcaster and record company executive (in 1972 he formed UK Records). In November 2000 he was accused of sex attacks on boys dating back to 1970, and in January 2001, he was charged with 7 counts of assaults against underage youths. He was sentenced to 7 years in prison.

The Blue Swede version was the first #1 hit in the US by a Swedish act. It reached the top the same week ABBA won the Eurovision Song Contest with “Waterloo” and introduced themselves to an international audience. The 7-member Blue Swede had more hits in Sweden, but never again cracked the American market, even though their songs were all in English.

According to Billboard & The Mercury Records Story, the backing vocal/chant which was first used in “Running Bear,” was performed by J.P. Richardson (The Big Bopper) and George Jones, which in turn inspired the Blue Swede version. Jones was either co-producing for Johnny Preston or was just there, perhaps for another session.

In 1998, the Blue Swede version was used in episodes of the TV show Ally McBeal when the “Dancing Baby” appeared. As Ally got older, she would get visions of a baby who would dance to the Blue Swede version of this song, reminding her that her biological clock was ticking. Vonda Shepard recorded it for her album Songs From Ally McBeal.

The “oogachaka!” chant from Blue Swede’s version could be heard in the trailer for the 2014 Guardians of the Galaxy movie during a montage of fiery action scenes, priming audiences for a superhero movie filled with incongruent ’70s hits. In the film, Chris Pratt’s character carries around a Walkman with a cassette tape his mother made for him: the Awesome Mix Vol. 1. When the Walkman is impounded and a guard listens to this song, Pratt confronts him. Even after getting zapped, Pratt remains indignant, telling the guard, “‘Hooked On A Feeling,’ Blue Swede, 1973. That song belongs to me!,” before getting another jolt as the song comes full in the mix.

The song leads off the soundtrack to the movie, which went to #1 in America, reviving this song and several others from the era.

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series, “Guardians Of The Galaxy” Edition, where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Weekdays At Noon EST. Enjoy the trip!

David Bowie; “Moonage Daydream”

Album: The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972)

  • Bowie wrote “Moonage Daydream” specifically for fashion designer Fred Burrett, who Bowie met in The Sombrero gay bar and decided to groom for stardom. Burrett, who changed him name to Freddie Burretti, is credited as a vocalist on the song, but whatever contributions he might have made never actually made it onto the track.
  • This was originally the first single released by David Bowie’s side-project Arnold Corns in 1971. It flopped but was subsequently dusted down to be the song that heralds the arrival of Ziggy Stardust on The Rise and Fall of Ziggy Stardust and the Spiders from Mars.
  • The B-side of the 1971 single “Hang on to Yourself” also later appeared on the Ziggy Stardust album.
  • In 2002 Bowie wrote a book Moonage Daydream: The Life and Times of Ziggy Stardust, which documented his Ziggy Stardust era in 1972-73.
  • In a 2003 interview with Performing Songwritermagazine, Bowie explained how the song “Sure Know a Lot About Love” by The Hollywood Argyles influenced this song. Said Bowie: “It was a combination of the baritone sax and the piccolo on the solo which I thought, ‘Now there’s a great thing to put in a rock song’ (laughs). Which I nicked, then put in ‘Moonage Daydream’ later.”
  • Mick Ronson’s guitar work was vital to the sound of the Ziggy Stardust album, including this song’s otherworldly sustain-drenched solo. Bowie summed up Ronson’s contributions in David Buckley’s essay in the booklet accompanying the 30th Anniversary 2-CD edition of the album: “A perfect foil and collaborator, Mick’s raw, passionate Jeff Beck-style guitar was perfect for Ziggy and the Spiders. It had such integrity. You believed every note had been wrenched from his soul.”

    Bowie continued: “I would also literally draw out on paper with a crayon or felt tip pen the shape of a solo. The one in ‘Moonage Daydream,’ for instance, started as a flat line that became a fat megaphone type shape, and ended as sprays of disassociated and broken lines. I’d read somewhere that Frank Zappa used a series of drawn symbols to explain to his musicians how he wanted the shape of a composition to sound. Mick could take something like that and actually bloody play it, bring it to life.”
  • The song’s introductory guitar riff would be later incorporated into punk pop band Green Day’s 2005 hit single, “Jesus of Suburbia.”
  • This features in the 2003 movie, School of Rock, starring Jack Black.
  • The White Stripes drummer Meg White started drumming along to Jack White’s cover of this song, inspiring the duo to start the band together shortly after.
  • This was used in the 2014 film Guardians Of The Galaxyand included on the soundtrack, which is comprised of songs from the ’70s. The soundtrack became the first to hit #1 without any new songs on the track list.

Psychedelic Lunch